An inquiry into the difference of style observable in ancient glass paintings : especially in England: with hints on glass painting

Part I. — Text. Oxford; John Henry Parker

MDCCCXLVII.

Preface

The following work is the result of the study and attention which, at intervals of leisure during the last fifteen or sixteen years, have been given to a favourite pursuit. At a very early period it occurred to me that the varieties of ancient glass painting were capable of a classification similar to that established by the late Mr. Hickman1 with regard to Gothic Architecture; and in the year ls:]"> 1 accordingly sketched out a little work, which, though doI intended for publication, was shewn in MS. to several of my friends and others interested in the subject. This work has formed the nucleus of the present. My materials were continually increasing on my hand, but I had no idea whatever of giving them to the press, until in a conversation with Mr. Parker he suggested that the publication of my observations might prove useful in directing attention to the study of painted glass, and in facilitating the investigations of others.

" I have adhered as nearly as I could to Rickinan's nomenclature from a sense of the inconvenience which results from any unnecessary departure from estahlished terms. See some sensihle remarks on this subject, Archaeological Journal, vol. iii. p. 372 et seq.

a iv PREFACE.

The execution of it has been attended with considerable labour, from the difficulty of arranging the mass of materials I had collected, and from the necessity of entering very carefully into a great deal of minute detail. Unfortunately I have seldom been able to give an undivided attention to the work for any considerable length of time. Interruptions occasioned by professional duties, and by preparing drawings for the plates, have prevented my doing so ; and I must plead this circumstance as an excuse for occasional defects of arrangement and style. I can however safely affirm that no pains have been spared to render the work substantially as accurate as possible, in reference to those matters which constitute the peculiar subject of it.

In forming such of my opinions as relate more exclusively to glass painting, I have, in addition to a. practical knowledge of the art, — for which I am indebted to the instruction of the late Mr. Miller, the distinguished glass painter of his day, — derived much benefit from an acquaintance with a few other leading glass painters, and from the opportunities which I have had of wratching the progress of several applications of this art, conducted on principles very opposite to each other; while in those conclusions which rest on more extensive views of Art in general, I have received the most valuable assistance from my friend the Rev. George Hamilton.

PREFACE. V

The present work is divided into two parts. In the first I have attempted to lay down rules which may serve to point out the leading distinctions of styles : the second contains observations on the present state of the art, and suggestions for its application to particular purposes, and as to the best means for its advancement. In some of my views I may seem too much inclined to innovation, but I assure the reader that none of them have been hastily adopted. It is an error to suppose that glass painting cannot be properly exercised now, without a strict recurrence, in all respects, to the practice of the middle ages. It is a distinct and complete branch of Art, which, like many other medieval inventions, is of universal applicability, and susceptible of great improvement. Therefore it seems improper to confine it to a mere system of servile and spiritless imitation. In expressing my opinions on this part of the subject, I have not ventured to do more than throw out a few hints for the consideration of artists : to give any precise directions on such a matter would be to travel out of the province of an amateur, who, though at liberty to criticise a work of art, has no right to assume the authority of a teacher.

For this reason I have carefully abstained from laying down any rules as to the composition and colouring of glass paintings, the omission of which may perhaps by some be considered to lessen the value of the work. With

Vi PREFACE.

regard to colour, however, I may be permitted to remark, that the same general principles apply to a glass painting as to any other : and to express my conviction that there is no foundation for the belief that anciently a symbolical disposition of colours was observed in a scriptural glass painting. The conclusion I have arrived at on this latter point is confirmed by the opinion of M. Lasteyrie b.

It is proper that I should make some observations on the plates which accompany this work. I had originally intended, in addition to the other illustrations, to give a general view of a window belonging to each style, and had prepared drawings for that purpose : but I was induced to abandon the project, from a conviction that the usefulness of these plates would not be commensurate with the increased cost of the work. The difficulty of producing in a plate the effect of painted glass, has never yet been overcome, even in engravings of large size, and as it is enhanced by every reduction in the scale of the plate, it became evident to me that my sole object in introducing these general views would be frustrated. I have therefore endeavoured to supply the deficiency, as well as I could, by references to plates of entire windows in other works. With the exception therefore of one general view of a window, copied from a French work, and which being represented in outline only, presented no difficulty of exe-

b Lasteyrie, " Histoire de la Peinture sur Verre, ' p. 70, note.

PREFACE. vh

cution, all the plates have been taken from detached portions of glass paintings. They are all copied from genuine examples, and are arranged in two classes j the first consists of designs on a reduced scale, some coloured, some executed merely in outline ; which form of themselves a tolerably connected series of glass paintings from the thirteenth to the seventeenth century. The second class is composed of engravings of the full size of the original examples : these range over as wide a period as the subjects of the first class, and, like them, are executed some in colours, some in outline only. By this means I hope to familiarize the reader's eye with the handling, as well as the general effect of ancient glass paintings. How far I may have succeeded in this remains to be seen. I have, however, taken care in every plate to notice those minute features which are peculiar to glass paintings, as the leads by which the work is held together, &c. ; so that I trust the plates, if considered merely as diagrams, may serve in some measure to explain the letter-press.

In conclusion, I must express my grateful thanks for the assistance I have derived, in the progress of this work, from the advice and suggestions of many of my friends. My best acknowledgments are due to Richard Charles Hussey, Esq., of Birmingham, for his liberal offer, made through my friend W. Twopeny, Esq., of placing some valuable drawings of painted glass at my disposal, of which, viii PREFACE.

owing to the progress that had been made in the work, I was not able to avail myself. Mr. Ward, the eminent glass painter, must allow me to thank him sincerely for the many valuable practical hints he has at various times communicated to me. I am forbidden to mention the name of an intimate friend, to whom I feel under the deepest obligations, for his kind aid not only in verifying dates and correcting references, but in superintending the whole construction of this work.

C. W.

October 8, 1846.

NOTE.

The terms "Painted glass," and M Stained glass/' are commonly used as if they were synonymous. I have however adopted the former, from a belief that although not strictly correct, it is on the whole a more correct expression than the latter. For a glass painting may be entirely formed of painted glass, — i.e., glass painted with an enamel colour, — but it would be impossible to execute a glass painting merely by staining the glass. Most glass paintings are formed by combining the two processes of enamelling and staining.

I should perhaps state that this work treats only of that process of glass painting which is perfected by t lie aid of fire. There is a mode of ornamenting glass with colours mixed with copal, or other varnish. But this is not glass painting in its true sense. A painting thus executed will perish as soon as the varnish with which the colour is mixed loses its tenacity, which is usually in the course of a few years. A real glass painting, however, if properly executed, will endure as long as the glass itself.

As some of my readers may not be aware of the sense in which the term "white glass" is used in this work, I will add, that amongst glass painters it technically signifies uncoloured glass, or glass to which no colour has been intentionally applied in the manufacture of it

Section V. — The Intermediate style . . ib

1. The texture and colour of the glass .... 214

5 and 6. Borders and patterns . . . . ib.

7 and 8. Pictures and canopies ..... 222

10. Heraldry . . . . . . ib.

12. Mechanical construction . . . . ib.

CONTENTS.

xiii

Section I. — Employment of painted glass as a means of decoration 226 II. — On the true principles of glass painting . . 239

III. — On the selection of a style .... 268

APPENDIX (A).

Chapter I. — On the construction of a furnace for working: glass . 311

II. — Of the annealing furnace .... 316

III. — Of the furnace for spreading; and the implements for

the work ...... ib.

IV. — Of the mixture of ashes and sand . . . 317 V. — Of the working puts, and the mode of fusing [et de 00-

quando] white glass . . . . . :*1K

VI. — How tables of glass [vitrea? tabulae] are made . . i)>.

VII.— Of yellow glass ...... 990

VIII. — Of purple glass [de purpureo vitro] . . . ib.

IX. — Of spreading out tables of glass .... 321

X. — How glass vessels are made .... 322

XI. — Of bottles with long necks .... 323

XII. — Of the different colours of glass .... 324

XIII. — Of glass drinking bowls, which the Greeks decorate with

gold and silver ...... ib.

XIV. — The same by another method .... 3*2.') XV. — Of Greek glass, which ornaments Mosaic work . . 326

XVI. — Of earthen vessels painted with differently coloured glass ib.

XVII. — Of the making of windows .... 327

XVIII— Of dividing glass ..... 3'Jh

XIX. — Of the colour with which glass is painted . . . ib. XX. — Of the three colours for the lights in glass [de coioribua

tribus ad lumina in vitro] .... .Til*

XXI. — Of the ornamenting of a picture in glass . . . 330

XXII. — Of the furnace in which glass is burnt . . . 331

XXIII. — How glass is burnt [coquatur] . . . 332

XXIV. — Of the iron moulds ..... 33;} XXV. — Of casting the rods [de fundendis calamis] . . ib.

XXVI. — Of wooden moulds [de ligneo infusorio] . . 334

XXVII. — Of putting together and soldering windows . . 336*

CONTENTS.

Pasje

XXVIII. — Of placing gems on painted glass . . . 337

XXIX.— Of simple windows [de simplicibus fenestris] . . 338

XXX. — How a broken glass vessel may be mended . . ib.

XXXI.— Of rings ...... 339

Cuts in the Text . . . . . . .381

Addenda and Corrigenda ...... 383